Cranky, opinionated words about a lot of things, frequently the movies.

Main menu

Tag Archives: , Lenny Abrahamson

I have no proof whatever that when the final ballots were tallied, late at night at the Academy, and the prospect of a second year of the dreaded hashtag #OscarsSoWhite hung over the room, considerable thought was given to The Messenger of this news. Messengers.

I do know that it was really nice to see that Guillermo Del Toro and Ang Lee were given the first swath of nominations to read. The second list was handled by redoubtable Academy President Cheryl Boone Isaacs and John Krasinski.

It was a gallant show of inclusiveness, before the truth was out and hellfire rained down from every side.

– Sylvester Stallone but not Michael B. Jordan? So, who was Creed about, an old, slow white guy from Philly?

– Spike Lee? Maybe no one could pronounce Chi-Raq. In any case, he just got an honorary Oscar. . . in November, at one of those ceremonies that happen way, way off-stage. Check out his speech, every last minute of it.

Don’t even want to think what he’s saying today. No, actually, I do.

Far from Hollywood, another movement had been roiling. A headline in The Irish Times nailed it:

Irish talent front and centre in the 2016 Oscar nominations

You gotta love coverage that names the home counties of nominated actors like Steve Jobs’ Michael Fassbender (Kerry) and Brooklyn’s Saoirse Ronan (Carlow.) And quotes a genuine-sounding reaction by Room’s director Lenny Abrahamson to perhaps having nabbed Steven Spielberg’s Best Director slot.

“I don’t know how to talk about that. That is amazing and very humbling. I chatted to Spielberg when I was last in L.A. and he spoke beautifully and was very complementary. But we thought we’d be in a seat at the back. Now [Room is also up for Best Picture] it looks as though we’ll have seats at the front.”

The Irish Times continues, citing Room’s adaptor Emma Donoghue, working from her own novel, and live action short director Benjamin Cleary for Stutterer. All in all, their tally suggests that it was pints all around for the Irish Film Board.

Check out the total hard numbers of Irish nominations, I don’t trust myself to. It’s a rout.

* * *

A good long time ago, I was close at hand for another, brave try at balance at the Oscars – this one behind the scenes. For its gala 65th Oscar ceremony, the Academy declared that 1993 was its Year of the Woman.

(For all of you with really good memories, you’re right: the country already struggled through its so-called Y. of the W. in 1992, when women popped up everywhere in Congress. What can you say, other than if you want cutting edge, you don’t go to the Oscars.)

I was in our kitchen in Los Angeles in the early evening when the phone rang. It was Gil Cates, producer of the Oscar show, whose nominations would be announced the very next pre-dawn morning. I’d met Gil before, nice guy, always pleasant, but never so much as now.

“Sheila! How ARE you? Not still at the Times. . . ? ” It was one of those fishing questions, sure but just making sure.

“Not for 2 years, Gil.”

“Well, I was just wondering how you’d like to work on an Oscar show.”

“What doing?” I asked guardedly.

“Writing. Writing!! How would YOU like to be a writer on the Academy Awards? On this Academy Awards.”

Couldn’t think of a reason why I shouldn’t. And so my short, strange trip began, with an impressively rushed-through contract, so that when the Academy Year of the Woman gang was presented to the world, it did indeed, have a Woman Writer. Thrown right in there next to the two guys who’d been writing those snappy quips and truly fulsome film tags for years. Longer. For decades.

(The show also had a woman filmmaker, Lynne Littman, to create the night’s special presentation celebrating Women. Womanhood. Womankind. It changed frequently. She rarely looked happy. She came aboard earlier, already vetted by virtue of her short film Academy Award.)

So, it began. I turned up, ready for work, shiny-bright and redundant. Whatever was I supposed to write? It took days to sort that out. Obviously, I hadn’t been hired for banter. I wouldn’t have known what to do with banter if it had been thrown, naked and flopping on the writer’s table. On that point we were utterly in agreement.

Maybe I could do the lead-ins to the nominated pictures? Well before the 1990s, that form was set in solid Styrofoam: a mystery description, one or two overripe sentences, and an answer revealed by the title of the movie. That year’s nominees were Unforgiven (the winner), A Few Good Men, Howard’s End, Scent of a Woman and The Crying Game.

I loped off with that assignment and brought it back to my industrious fellow writers the next day. They were appalled. Not by what I’d written; every cringe-worthy mothering word of mine was used (well, more or less, we’ll get to that.) It was my timing. I was finished, already? The subtext, Now what to do with her? went unspoken, as they beavered away.

One of the pair created a larky bit for Michael Caine, scheduled as a presenter. Every scene went into the vast script we all lugged around everywhere, all but chained to our wrists. Reading it, I wondered how Caine would react to his moment in created Cockney dialect. By declining to be on the show, it turned out.

To tell the truth, almost all our labors have faded away, mercifully as any uncomplicated birth, although I do remember a joke that one of the two writers tried out on me. Not, he made clear, for this show, but for a Writer’s Guild show that he famously worked:

“They’ve made a Half-Way House for battered women. It’s called Tempura House, for lightly battered women.”

Rotten readable Irish face. It marked me forever as No Fun.

My far-off daughters kept pestering me for details, Tid-bits. Who had I seen? Not Al Pacino. Not Emma Thompson. And not Bruce Vilanch, damn it all, funniest of all Academy Special Material writers. His company wasn’t for the likes of me. I was closeted away with my famous Academy veterans.

Every word of the script was embargoed, and even if I could, I wouldn’t tell my family, because they know appalling when they hear it. But I could give one hint: watch for the intro to The Crying Game, a film with a far-ahead-of-its time transgender reveal. I was almost half-way proud of that one, which ended, “Who says a woman can’t keep a secret?”

And so, on The Night, I came off the base of my spine where I’d been parked, when my Crying Game presenter strode onstage. Even before rehearsals, I had learned not to think of any presenter as mine. They came. They went. You had no idea who you’d draw. You could hope, of course, but it was truly one big game of Mess Around. But here she came and it was. . . Diane Keaton. In a white pantsuit, with a huge white beret. Heaven.

Until she pulled out a sheaf of pages and launched into her own impassioned brief on the Rights of the Downtrodden Different, for roughly 45 minutes. Plus or minus.

To their eternal credit, my family never really thought for one minute that those were my words. Although they did ask.